Das XXL Magazin hat in der Oktober 2003 Ausgabe ein 'Making Of The 7 Day Theory' veröffentlicht. Ein sehr interessanter Artikel, der auf Aussagen von Young Noble, EDI, Napoleon, QD3, Lance Pierre [techn. Assistent], Hurt M Badd [Produzent] und Darryl Harper [Produzent] basiert. Alle sieben erzählen etwas zu den 12 Songs des Klassikers und so ist es auch mal möglich hinter die Kulissen zu blicken. Das Making Of ist sehr lang, es würde sehr viel Zeit beanspruchen es ganz zu übersetzen, deshalb habe ich nicht alle Aussagen übersetzt.

BOMB FIRST | HAIL MARY | TOSS IT UP | TO LIVE AND DIE IN L.A. | BLASPHEMY | LIFE OF AN OUTLAW | JUST LIKE DADDY | KRAZY | WHITE MAN'Z WORLD | ME & MY GIRLFRIEND | HOLD YA HEAD | AGAINST ALL ODDS |

BOMB FIRST ( MY SECOND REPLY )

Young Noble: They had a little production room up there, and I was up there writing I had rapped last. I had kicked a verse for 'Pac. We was up in there freestyling a little bit. we just went in there and laid the song. He came up with the first verse. E.D.I. wrote his verse and it came out pretty tight. I think "Bomb First" was one of those classic ones.' Pac let loose.[When I said "King of New York"] I was talking to Biggie. you know the whole situation that was going on. 'Cause Biggie really was the king of New York at the time.

E.D.I.: Makaveli is an album that 'Pac basically Did on his own. I mean production, Lyrics...A lot of people don't know that 'Pac was a producer "Bomb First" was actrully a beat he started on. Other people got credit for it, but 'Pac started that beat. The bass line was from Naughty By Nature's "Uptown Anthem." That we always loved. 'Pac was working on the Drums and shit, Then a Couple of other sessions players came in and we just put it down and it was like the reply to "Hit'Em Up" it was after "Hit 'Em Up" came out and everybody had their little comments on the song and how they felt about it. 'Pac was like, "All Right, I got something else to say and this one is going to start Makaveli Off. It's a Just a ride track. It's just niggas riding. Also it introduced Noble. He was the last official Outlaw. We was all learning that shit at the same time. So what 'Pac would do, is he would have it i n his head and just tell people to do it, like "I want the drums to go like this, I want the bass line to go like that." But also what's crazy is, he had just bought a new house and he had a grand piano up in there and a nigga used to just fuck with Melodies on the Piano all the time. One of those melodies is actrully the melody for "Bomb First". He just came up with it himself. He'd Rember the shit and just go to the studio, play that melody and have somebody loop it, and then just tell niggas to add drums here, add bass here, add guitar here, add that there, he ain't really know how to program drums and shit like that, but he know how to program people, 'Pac was good at that he could get the beat out of people. [ Makaveli ist ein Album, das Pac von Grund auf alleine gemacht hat. Ich meine Produktion, Lyrics... Viele Leute wissen nicht, dass Pac auch ein Produzent war, Bomb First war eigentlich ein Beat, den er gestartet hat. Andere Leute haben Credits dafür bekommen, aber Pac hat den Beat gemacht. Die Bass-Linie war von Naughty By Nature's 'Uptown Anthem', welches wir schon immer gut fanden. Pac hat an den Drums gearbeitet, dann kamen noch einige andere Leute hinzu, wir haben den Track einfach gemacht. Es ist eine Antwort auf Hit 'Em Up, es war nachdem Hit 'Em Up erschien und jeder musste seine Meinung äußern. Pac war so drauf: "Alles klar, ich hab noch mehr zu sagen und der Song soll das Album starten." Es ist einfach ein fetter Song und er stellt Noble vor. Er war der letzte, offizielle Outlaw. Wir haben die ganze Sache zu der Zeit noch gelernt. Also bei Pac war es so, er hatte alles im Kopf, er wusste wie er es haben wollte und sagte es den Produzenten, wie "Ich will die Drums so haben, ich will den Bass so haben." Aber was auch verrückt war, er hatte vor kurzem ein neues Haus gekauft und da stand ein großes Piano drin, ein Typ saß immer da dran und spielte einige Melodien. Eine dieser Melodien ist die Melodie von Bomb First. Er war es, der die Melodie für den Song brachte. Er hat sich an die Melodie vom Piano erinnert und ging sofort ins Studio, spielte die Melodie ein und ließ sie wiederholen, dann sagte er, wie er die Drums und den Bass haben wollte. Er wusste nicht wirklich, wie man Drums programmiert, aber er wusste wie man Menschen programmiert, Pac war gut darin, er wusste, wie man den Beat aus dem Menschen bekommt. ]

Darryl Harper: I presented a beat to 'Pac and he liked it, but he wanted the bass line changed. He wanted the bass line similar to the one someone had did on the Movie Juice[Naughty By Nature's "Uptown Anthem"]. I didn't know what it was like, so I had to get it and find out what it was like. So I changed the bass line and it went like that.

Lance Pierre: Tupac actrully did that bass line. He actrully sat up on the Moog and punched out each button on that. but Darryl did the beat. 'Pac did that song; a lot of people don't know that it seemed like 'Pac was getting off into production. That was one of the Songs that Tupac actrully had a lot to do with as far as the production of it.

HAIL MARY

Young Noble: When we first did that song, it was cool. but I didn't like that song like That. When it hits the street, you kind of hear it through different ears. Hearing it after it came out, it was like, Damn, that was an incredible song. I was just blessed to be a part of that. The Studio had two big rooms and a little production room. Snoop and the Pound used to be in the back studio a lot. We'd go in there and we would just work. It would be a box of liqour every day--Cristal, Alize, we was drinking that back then as young niggas. Drinking the Thug Passion, girls every where, weed smoke everywhere. We'd just be makeing music. Three, Four, Five Songs a day, Just banging shit out.  Altogether, "Hail Mary" took maybe 30 minutes. it probably took about 15 minuets to write it and about five minutes to lay it. We laid the shit, my verse was already written. I had it in my book I wrote the last little hook part, "Outlawz on a paper chase..." That was going to be the hook at first. I had that hook already and I was like "yeah Pac I got a little hook." He was like "Nah, we going to put that at the end." And then he came up with the "Hail Mary" shit. 'Pac he wrote from the heart, so it wasn't even like writing it was like talking. [ Es war cool, als wir den Song gemacht haben, aber ich mochte ihn noch nicht so sehr zu dem Zeitpunkt. Wenn der Song veröffentlich wird würde man ihn durch verschiedene Ohren hören. Wenn ich ihn jetzt höre, nachdem er veröffentlicht ist, denke ich verdammt, was für ein unglaublicher Track. Ich bin gesegnet ein Teil davon zu sein. Das Studio hatte zwei große Räume und einen kleinen Produktionsraum. Snoop und die Dogg Pound waren immer im hinteren Studio. Wir sind einfach ins Studio gegangen und haben gearbeitet, mit reichlich Alkohol, Christal, Alize, wir haben das schon als junge Ni**a getrunken. Wir haben die Thug Leidenschaft getrunken, überall waren Ladies und Gras Rauch. Wir haben einfach Musik gemacht. Drei, vier, fünf Songs am Tag, einfach das Beste rausholen. Insgesamt hat Hail Mary 30 Minuten gedauert, 15 Minuten zum Schreiben und 5 Minuten um es aufzunehmen. Mein Vers war schon fertig, er war in meinem Buch, wo meine Reime drin stehen. Ich habe den letzten kleinen Refrain geschrieben "Outlawz on a paper chase...", das sollte zuerst der Refrain werden. Ich hatte den Refrain schon fertig und ich sagte: "Yeah Pac, ich hab 'ne kleine Hook." Er sagte: "Nah, wir werden das am Ende einspielen." Und dann kam er an mit dem Hail Mary Scheiß. Pac schrieb vom Herzen, also war es garnicht wie schreiben, es war als ob er einfach redet. ]

E.D.I.: I give Hurt M Badd credit for "Hail Mary" 'Pac told him, "I need some slow, Thuggish shit." Hurt M Badd Made "Hail Mary" and when we heard it, 'Pac went crazy We just did the song in an hour and a half. It wasn't my favorite record on Makaveli. It reminded me of some down-South record. I didn't know it was going to be as big a record as it is today. 'Pac loved Kastro and Noble's part. How they Changed the whole Vibe of the song up on some outlawz shit. but really, I think he just loved what he was saying in it. It's some real cold shit he's saying: "Seein' niggas comin' for me/To my diamonds, when they glistenin'/Now pay attention, rest in peace, Father." because he knew niggas was coming for him. At the end of "Hail Mary, I just remember 'Pac shouting out "Snoop." That's another thing that sticks in my mind. 'Cause at the time, even with the tension, he still made it a point to shout-out Snoop on Makaveli. You got [Outlaw] Kastro in the Background going 'Makaveli the Don, Don don" at the end of the song when 'Pac is talking about his conglomerates, you hear kastro in the background going, "Makaveli the don." [ Ich schreibe Hurt M Badd den Song zu. Pac sagte ihm, dass er was langsames, thug mäßiges braucht. Hurt M Badd machte den Beat und als wir ihn zu hören bekamen flippte Pac total aus. Wir haben den Song in 1 1/2 Stunden fertig gestellt. Es war nicht mein lieblings Song auf dem Album. Es erinnerte mich an einen Down-South Track. Ich wusste nicht, dass der Song einmal so groß sein wird, wie er es heute ist. Pac liebte Kastro's und Noble's Part. Wie sie der ganzen Stimmung des Songs diesen Outlaw Flair geben, aber ehrlich gesagt denke ich, dass er den Song so gut fand, lag an den Sachen, die er darin sagt. Er sagt wirklich reale harte Sachen: "Seein' niggas comin' for me/To my diamonds, when they glistenin'/Now pay attention, rest in peace, Father." - weil er genau wusste, dass Leute hinter ihm her sind... ]

Lance Pierre: That was the best song on the record. It also was the strangest song. What I mean by that is the way it came out at the end as far as the "Makaveli The Don," and all that. Tupac used to do a lot of that ad-lib. Just talking toward the end of the song. I was mixing it, and none of that shit was supposed to come out like that. But it came out and it sounds good. I'm talking about the outro, where you hear K in the backgroun: "Makaveli The Don". That was some extra stuff. That was a total fluke. The Song was suposed to stop there. But it sounded good. So we just kept it and turnd it into an interlued with the whole monk thing going on. That one turned out more than how we really expected it to turn out.

Hurt M Badd: "Hail Mary" actrully only took me 15, 20 minutes to create the whole beat. I just came to work one day, I was feeling good. I was sitting behind the boards. I just touched a few sounds man, and it was like done. And so an enginner came into the room where I worked, and he heard the track--I told him to put the headphones on. He looked at me like "Damn, Hurt! This sounds like a hip-hop funeral, man" When I do stuff, I don't be feeling it like everybody else, I guess 'cause it's me. He said, "Why don't you let Tupac hear this?' When Tupac heard it, he really didn't say nothing but "Gimme that." I left the studio and when I came back the next day, everybody from the security guard to the phone lady to the engineer--Everybody ran up to me like, "Wait 'till you hear what this nigga done laid down over your trak." When I heard it, I didn't think it was a hit. I was like "Why is Tupac laying this stuff down over my track?" We all had a listening party for the album, and 'Pac was loving every song but when they played that song, he just went though a thing. He Threw his hand  up in the air with his Hennessy bottle. He threw his hand up in the air like he ruled a nation. [ Für den Hail Mary Beat habe ich nur 15 - 20 Minuten gebraucht. Eines Tages kam ich zur Arbeit, ich fühlte mich gut. Ich habe mich hinter das Board gesetzt. Dann habe ich einfach einige Sounds kreiert und es war fertig. Ein Ingenieur kam ins Studio und hörte den Song - Ich hab ihm gesagt, er soll die Kopfhörer anziehen. Er schaute mich an und sagte: "Verdammt! Das hört sich wie eine Hip Hop Beerdigung an." Wenn ich Sachen produziere fühle ich die nicht so wie andere, weil es von mir selber kommt. Er sagte, warum läst du Tupac den Beat nicht hören? Als Tupac den Beat hörte sagte er nur: "Gib ihn mir". Ich verließ dann das Studio und als ich am nächsten Tag wieder da war, kamen alle zu mir, vom Sicherheitsmann bis zur Sekretärin und sagten: "Warte bis du hörst, was der Typ [Tupac] über deinen Beat aufgenommen hat!" Als ich es hörte, dachte ich nicht, dass es ein Hit ist. Ich dachte nur, warum Tupac so etwas über meinen Beat aufnimmt. Wir hatten eine Party am Start, wo wir uns alle die Songs angehört haben, Pac mochte wirklich jeden Song, aber als Hail Mary kam flippte er aus. Er warf seine Hände in die Luft, mit seiner Hennessy Flasche und er bewegte seine Hände, als würde er eine ganze Nation beherrschen. ]

TOSS IT UP

E.D.I.: That's a song that was already done Suge had it done with Danny Boy and Jodeci on it. Thats my least favorite song on Makaveli, 'Pac just got on the track and did his thing. That was some shit him and Sughe had already worked out. And the crazy part that alot of people don't know is that the song was originaly to [Blackstreet's]"No Diggity" Beat 'cause Dre had did that "No Diggity" beat while he was still at death Row. And Suge had it. But then Dre Sold the shit to Teddy Riley. The Beginning fo those songs where almost exactly alike. I don't know who bit off of who. I ain't here to start no shit, but in the beginning, "No Diggity" and "Toss it up" were aknist exactly alike. Yeah you would have to be there to know that. [ Dieser Song war schon fertig, Suge hatte Danny Boy und Jodeci auf dem Track. Den Song mag ich am wenigsten vom Album, Pac war einfach auf dem Song und machte sein Ding. Das war etwas, das Suge und Pac schon vereinbart hatten. Und das Verrückte, was die Leute nicht wissen, ist, dass der Song eigentlich auf Blackstreet's 'No Diggity' Beat aufgenommen wurde, denn Dre hat den Beat gemacht, als er noch auf Death Row war. Und Suge hatte den Beat. Aber dann hat Dre den Beat an Teddy Riley verkauft. Der Anfang beider war fast genau gleich. Ich weiß nicht, wer von wem geklaut hat. Ich bin nicht hier um Streit zu starten, aber am Anfang hörten sich No Diggity und Toss It Up sehr ähnlich an. Ja, du hättest dabei sein müssen um es zu wissen. ]

TO LIVE & DIE IN L.A.

Young Noble: That was like a different "California Love." 'Pac used to love LA. Everywhere we went out in LA, it was nothing but love. When we'd go to the malls, the whole damn mall would be following us. It was like they really loved that dude out there. Even to this day. We'd be in the streets, the esse's they love us to death...Making it, we were drunk as hell with a whole bunch of girls in the studio. We were getting head in the bathroom, all types of shit. It was never like we got to buckle down and work, 'cause even if we smokeing and high the whole time we was workin. Every 'Pac song you hear, that's how we did it; basically smoking, drinking, having fun. I don't think niggas did one that took over an hour to make. 'Pac was working on Gang Related at the time, and what's the other one? with the white dude when they were dope fiends Gridlock'd. So we'd get up and go to the set at like six, seven in the morning, and then go to the damn studio after that. We'd get to the studio at five or six, and not leave that bitch 'till three, four in the morning. We'd be leaving with four, five, six songs a day so if you doing six songs a day, in three days that's 18 songs. [ Der Song ist wie ein anderes California Love. Pac liebte Los Angeles. Überall wo wir hingingen in LA, war nichts als Liebe. Wenn wir in Einkaufszentren gingen verfolgte uns das ganze Einkaufszentrum. Sie hatten wirklich viel Liebe für den Typ da draußen. Auch heute noch in den Straßen, die Esse's lieben uns sehr... Als wir den Song gemacht haben, waren wir total betrunken und ne ganze Menge Ladies waren im Studio. Im Badezimmer bekamen wir einen geblasen und diese ganzen Sachen. Es war niemals so, dass wir uns anschnallten für die Arbeit, denn obwohl wir rauchten und high waren, haben wir gearbeitet. Bei jedem Pac Song den du hörst, haben wir das so gemacht. Hauptsächlich rauchen, trinken und Spaß haben. Ich denke nicht, dass wir länger brauchten als eine Stunde um die Songs aufzunehmen. Pac hat an Gang Related gearbeitet und was war nochmal der andere Film? Mit dem weißen Typ, wo sie 2 Junkies spielen, Gridlock'd. Also gingen wir um 6, 7 Uhr morgens ans Set und danach gingen wir ins Studio, so um fünf, sechs Uhr nachmittags. Und da blieben wir auch bis um 3, 4 Uhr morgens. Manchmal verließen wir das Studio mit 4, 5, 6 Songs am Tag, also wenn du 6 Songs am Tag machst, hast du 18 Songs in 3 Tagen! ]

E.D.I.: That's QD3. He was the only outside producer on that album, besides the dude who did "Toss It Up." QD3 was one of 'Pac's favorite producers. He loved fucking with Q. That's a Sample [Ed. Note: It's actrully a Reinterpatation] of "Do Me Baby" by Prince. A lot of people don't know that 'Pac was a big Prince fan. He fucked with Prince. if you listened to alot of 'Pac's Shit, he sampled Prince in different ways. That was probably 'Pac's favorite song on Makaeli, besides "Against All Odds." He loved the whole groove--"To Live and Die In LA," a reall LA song. Drop tops, 80 degrees down sunset, it just gave him the feeling of being in LA. And he loved the city. [ Das ist QD3. Er war der einzige outside Produzent, neben dem Typ, der Toss It Up gemacht hat. QD3 war einer von Pac's Lieblingsproduzenten, er liebte es mit Q zu arbeiten. Der Song samplet 'Do Me Baby' von Prince. Viele Leute wissen nicht, dass Tupac ein großer Prince Fan war. Er liebte Prince. Wenn du dir einige Sachen von Pac anhörst, wirst du merken, dass er Prince in mehreren Songs samplet. To Live & Die In LA war wahrscheinlich Tupac's Lieblingssong auf dem Album, neben Against All Odds. Er liebte den Groove - To Live And Die In LA - ein richtiger L.A. Track. Das Auto - Verdeck weg und 80 Grad den Sunset runter fahren, das gab ihm das Gefühl wirklich in L.A. zu sein. Er liebte die Stadt. ]

QD3: I was in the studio with 'Pac, I had some records with me, and there was this old song that I played for him to see if he liked the vibe. He felt it and told me to go home and hook up a beat like that. I went home and hooked it up as fast as I could, and I think I came back the same night and he listend to the track three times, and in like 15 minutes he was already done with his lyrics. He went in the booth without telling anyone what the track was about he just laid it in one take--over about three tracks. Then he told Val Young what the concept was, and she went in and laid her chorus vocal in one take, too. After the vocals were done, 'Pac had Ricky Rouse [Makaveli musician] replace my keyboard bass and guitar parts with live bass and guitar parts, and the song was done--less then two hours total. This song just flowed out of everyone that was a part of it. No one thought twice no one doubted anything. It was full speed ahead untill it was done--as if it was guided or ment to be. Ever since recording like that, without thinking twice like that, I have changed the way I look at making music. [ Ich war im Studio mit Tupac, ich hatte einige Beats bei mir und da war dieser alte Song, den ich ihm vorgespielt hatte um zu sehen, ob ihm der Vibe gefällt. Er mochte ihn und sagte ich solle nach Hause gehen und den Beat fertig machen. Also ging ich nach Hause und machte den Beat, so schnell ich konnte und ich glaube ich kam in der selben Nacht wieder. Pac hörte sich den Beat 3 mal an und in 15 Minuten hatte er den Song geschrieben. Er ging in die Aufnahmekabine, ohne jemandem zu erzählen, wovon der Song überhaupt handelt und nahm seine Parts auf, er benötigte nur einen Versuch. Dann sagte er Val Young, wie das Konzept vom Song ist und sie nahm den Refrain ebenfalls mit einem Versuch auf. Nachdem die Lyrics aufgenommen waren sagte Tupac zu Ricky Rouse, dass die Keyboard und Gitarren Parts live eingespielt werden sollen und schon war der Song fertig, in weniger als 2 Stunden. Dieser Song floss einfach aus jedem raus, der daran beteiligt war. Niemand dachte zweimal über etwas nach, niemand stellte etwas in Frage. Alles lief in hoher Geschwindigkeit ab, bis es fertig war -  so als ob es bestimmt war. Seitdem ich so arbeite, ohne zweimal über etwas nachzudenken, habe ich meine Sichtweise aufs Musik machen verändert. ]

BLASPHEMY

Young Noble: I rember after he did that song, riding back to the crib listening to it he even bugged himself out on that one. He got real deep on there, and he didn't even know where it came from. It was like he didn't Really... That dude, he was just a gift from God. But I remember that shit. He was like, "Damn, you hear what I'm Talking about?" He surprised himself with that like. "I don't know where the hell I be coming up with this shit." It ain't like he sit around all day and think about it, the shit just be coming out like that. God put that in certin people, and he was one of them dudes. God definitely put shit in that man's heart. He used to always talk about that kind of stuff. He just knew he felt like he was going to be a big star and just disappear. And that's exactly how it happend. He made his mark like crazy. Dude was definitely sent from up above. I can't explane everything. there's certain shit I don't know. He used to talk to us about that shit all the time. Like, we don't want to hear that shit. You ain't going nowhere. You better not go nowhere. But he knew it, I guess. [ Ich erinnere mich daran, als er den Song aufgenommen hat und wir zurück bei ihm zu Hause waren. Wir hörten uns den Song nochmal an und er kam selber nicht klar darauf. Er rappt über sehr deepe Sachen und er wusste noch nichtmal woher es kam. Es war so als ob er nicht wirklich... Diese Person, er war einfach ein Geschenk von Gott. Aber ich kann mich dran erinnern. Er sagte: "Verdammt, hörst was ich da erzähle?" Er überraschte sich selber damit. "Ich weiß nicht, woher ich das habe." Es ist nicht so, als ob er rumsitzt und die ganze Zeit an so etwas denkt, es kam einfach so raus aus ihm. Gott hat das einigen Leuten gegeben, er war einer davon, Gott hat es ihm in sein Herz gegeben. Er sprach immer von solchen Sachen. Er wusste einfach, dass er ein großer Star werden und verschwinden würde. Und genau so ist es passiert. Er setzte ein verrücktes Zeichen. Er wurde definitiv von oben herab gesandt. Ich kann das nicht alles erklären, da sind manche Sachen, die ich nicht weiß. Er sprach die ganze Zeit mit uns darüber. Aber wir wollten das nicht hören, du gehst nirgendwo hin sagten wir. Du gehst besser nirgendwo hin. Aber er wusste es besser, denke ich. ]

E.D.I.: If you listen to "Blasphemy," There is a girl saying a prayer at the end of the song. That's Kastro's sister, Jamala Lasane, who's also 'Pac's Cousin. It was a little family Thing. She was just up in the studio, and she was like "I could just say this at the end of that shit." 'Pac heard what she was saying and was like "Go Ahead." And she ended up on the album. "Blasphemy" is deep song featuring Ital Joe. He passed away a few years ago[In a car accident]. It reminds me of "Hail Mary." It's one of those Deep, spiritural things. A lot of Times in pac's music, he was talking to us, 'cause we was so wild and out of control--just so caught up in the rap lifestyle. I think a lot of times he wanted to snap us back to reality. Like, "It's real out here. It's not all fun and games." He used to say that a lot. So "Blasphemy" is one of those songs where I feel like he was talking to us on some personal shit. [ Wenn du dir Blasphemy anhörst, da ist ein Mädchen am Ende des Songs, sie redet das Outro über den Gesang des Refrains. Das ist Kastro's Schwester, Jamala Lasane, sie ist ebenfalls Tupac's Cousine. Es war eine kleine Familien Sache. Sie war einfach im Studio und sagte, dass sie diese Sachen am Ende des Songs sagen könnte, Pac war einverstanden und schließlich ist sie auf dem Album. Blasphemy ist ein deeper Song mit Prince Ital Joe, er starb vor einigen Jahren, wegen einem Autounfall. Es erinnert mich an Hail Mary. Es ist einer dieser deepen, spirituellen Songs. Sehr oft sprach Tupac durch seine Musik zu uns, denn wir waren sehr wild und außer Kontrolle - wir lebten einfach diesen Rap Lifestyle. Ich denke, er wollte uns damit wieder in die Realität zurückholen. Wie: "Es ist real da draußen, es ist nicht alles Spaß und Spiele." Er sagte uns das sehr oft. Also Blasphemy ist einer dieser Songs, über die er mit uns reden will, etwas Persönliches. ]

Lance Pierr: That was another song that was weird. In the studio, last, late night. Candles are burning. Vibe is just like: What is going on here? [ Das ist ein weiterer Song, der komisch ist. Im Studio, die letzten dort, spät in der Nacht. Kerzen brennen. Der Vibe war so wie: Was geht hier ab? ]

LIFE OF AN OUTLAW

Napoleon: My Grandmother died [during] Makaveli, so I had to leave early. When I came back, 'Pac had many of the songs done except for "Life Of An Outlaw," The [only] song that I'm on. It was just me, E.D.I., Kastro, Noble and 'Pac in the studio. I remember the beat came on and 'Pac got one of the guys from six feet Deep, Sizz-Nine to do the hook. He said, "I'm going to do this song to let people know: Beware that the Outlawz is coming." It was like an introduction to the outlawz album we was going to do with 'Pac. 'Pac took it on another level. In the middle of the song before my verse started, [He Asked] "Hey Napoleon, would you die for me? Whould you kill for me?" And then I came in with my joint to end the song off. So it was deep song for me also. 'Pac was a one-hitte-quitter. He's a one-take G. HE could go in hyped up and be into it to the fullest. HE come out the booth sweating. He probably go in there with his blunt and his hennessy, do his thing. We all was in that state of mind. I call it the ignorant state. Just being drunk and not knowing what's going on. We didn't miss one day without drinking. We was caught up, living the life. We always got in the studio and did the verse. We didn't even know what beat. 'Pac would tell someone to play a beat. Next thing you know he would be like, "Alright, we're going to talk about this." And if you verse ain't done before 'Pac's, you don't get on the song. That's how 'Pac was. He'd be like, "I already got one verse done. Y'all don't got no verse, you ain't getting on the song". We just had to write, man try to keep up with this dude, He'd put the beat on, we'd be like, "Damn, let's get a head start." Some of the songs he would take to the neck, man. "Life Of An Outlaw" he was going to do one verse. He was like "I've finished one verse Y'all ain't ready " Then he'd start writing another verse. And do that verse. He would have kept it going. He would have took over the song and did it himself. 'Pac was one of those dudes in the studio where if you mess up, he get angry. Like, he want you to go in there and do it, as is. But sometimes, 'Pac will go in there and not even care if he'd mess up. You know how he'd be doing a dub, and you hear one of his voices come on before the other? He'd keep it like that. He'd go in there, do it and get out. That work we done--it was professional in 'Pac's way. He'd do his thing and if he messed up on the dub, he'd keep it. He'd say "We'll fix it when we mix it"

E.D.I.: 'Pac actrully played that melody on that song. He's not credited for it, but he played it. it's a little keyboard sound that you hear in the background. He's playing that. Any session player that was involed with Makaveli will tell you that. If they don't, they lying. [ In Wirklichkeit hat Pac die Melodie für diesen Song gemacht. Er bekommt kein Credit dafür, aber er hat sie gespielt. Es ist ein kleiner Keyboard Sound, den man im Hintergrund hört. Er spielt das. Jeder Arbeiter, der bei dem Album involviert war, wird dir das erzählen. Wenn sie das nicht machen, dann lügen sie. ]

Darryl Harper: We started working kind of exclusive. Like, it was me, 'Pac and Tyrone[Hurt M Badd]. We was always together when it came to the studio. He would lock the door and the other people got jealous of it at Death Row. They got a little bit peeved that he was spending days in the room with us. Certain people started claiming it was favortisim going on, 'Pac using our beats. But the ironic thing was, before 'Pac actrully gave us a shot, we had been presenting tracks to everybody on the label. Nobody would take them but the new people that was just signed to the label, people that would probably never get an album out. Nobody would even take beats from us. Matter of fack they used to call us "Wack Room" until 'Pac started taking our beats. Then people started complaing to suge that we were only giving 'Pac beats. [ Wir begannen etwas exklusiv zu arbeiten, also Pac, Hurt M Badd und ich. Wir waren immer zusammen, wenn es ins Studio ging. Pac schloss die Tür ab und die anderen Acts wurden eifersüchtig bei Death Row. Sie wurden sauer, weil 2Pac Zeit mit uns im Studio verbrachte. Manche sagten, dass 2Pac bevorzugt wurde, er benutzte unsere Beats. Aber das ironische an der Sache war, dass wir jedem auf dem Label unsere Tracks vorgespielt haben, bevor Pac uns eine Chance gab. Niemand wollte unsere Beats, aber Leute, die gerade neu unterschrieben haben und vielleicht nie ein Album veröffentlichen. Niemand wollte unsere Beats. Tatsache ist, dass sie unseren Studioraum 'Wack Room' nannten, bis Tupac unsere Beats genommen hat. Dann haben sich alle beschwert, dass wir nur Tupac Beats geben würden. ]

JUST LIKE DADDY

E.D.I.: "Just Like Daddy" is a song that was done for the Outlawz album. 'Pac was trying to teach us how to do some shit for the bitches, 'cause all our shit was hard shit, kill'em up shit, hard times, struggle shit. Why my life like shit? Type shit. 'Pac was like "That shit is cool and people going to love y'all for that. But y'all gotta give 'em something else. You got to get the girls. Y'all got to do some other shit, some lighter shit, some shit people can have fun to." So this nigga went up there, and we start doing "Just Like Daddy." The beat is the "Impeach The President" drums, Hurt M Badd just had them shits looping. 'Pac just start singing melodies like, "Play this melody here, play that right here." Then Val Young come in. "Val Young, I want you to sing this shit right here. This is the hook." Then We got love song and shit. Boom. "Just Like Daddy." for the honeys. [ Just Like Daddy wurde eigentlich für das Outlawz Album aufgenommen. Pac wollte uns zeigen, wie man einen Song für die Ladies macht, denn all unsere Sachen waren hart, Kill Em Up Shit, schlechte Zeiten, Struggle Shit. Warum ist mein leben so wie es ist? Solche Sachen. Pac sagte: "Das ist cool, die Leute werden euch dafür lieben, ihr müsst ihnen noch was anderes geben. Ihr müsst die Mädchen bekommen. Ihr müsst noch was anderes bringen, etwas leichteres, etwas, wozu Leute Spaß haben können." So lief das ab und wir fingen an Just Like Daddy zu machen. Die Drums sind von 'Impeach The President', Hurt M Badd hat sie einfach wiederholt. Pac fing an Melodien zu singen und sagte: "Spiel die Melodie da und spiel das da." Dann kam Val Young rein. "Val Young ich möchte, dass du das hier singst, das ist der Refrain." Dann hatten wir also einen Lovesong. Boom. Just Like Daddy, für die Mädels. ] 

Lance Pierre: 'Pac always used Val Young because he liked her voice. It was a little raspy, gospel-souning voice.

KRAZY

Young Noble: We was supposed to be on that song, but we took too long with our verse. Bad Azz was up in there chilling with us. 'Pac used to  like Bad Azz; he had a nice flow. And 'Pac threw Bad Azz up on there and I'm glad he did, 'cause Bad Azz did his thing on that muthafucka. That's one of those classic 'Pac songs, too. "Time goes by puffing on la got a nigga going crazy..." We had started writing the shit and we was taking long. 'Pac was like, "Who got something? Bad Azz you got something?" and it fit perfect, so it was ment for Bad Azz to be on that song. We had already been on a million 'Pac songs. That was his way of motivating us like, "If y'all ain't ready, then you don't make the song." That's why some songs you might hear one on there or you might hear two or you might hear three. 'Cause when the song got just about done, if niggas ain't have no verse, we were scratchin that and going to the next song. 'Pac was surrounded by a lot of controvers, and a lot of people be thinking he that way. But that dude was really all about love, yo. He loved his family, he loved the kids and he loved black people to death. That dude was really all about love. That's why the streets love him. Through all that shit, through all the beefing... When I think about 'Pac I don't Think About none of that shit, I think about love. This nigga had so much love in his heart it was ridiculous. and you hear that shit in his muisc. [ Wir sollten eigentlich auf dem Song zu hören sein, aber wir brauchten zu lange um unsere Lyrics zu schreiben. Bad Azz war auch im Studio und hat mit uns abgehangen. Pac mochte Bad Azz, er hat einen guten Flow. Und Tupac nahm Bad Azz mit auf den Song und ich bin froh darüber, denn Bad Azz hat echt gute Arbeit geleistet. Das ist einer dieser klassischen Tupac Songs. "Time goes by puffing on la got a nigga going crazy..." Wir haben angefangen zu schreiben, aber wir brauchten einfach zu lange. Pac fragte, ob jemand einen Vers hat. Bad Azz hatte seine Zeilen fertig und es hat perfekt gepasst, also es war so bestimmt, dass Bad Azz auf dem Song ist. Wir waren ja schon auf sehr vielen 2Pac Songs. So konnte Pac uns motivieren: "Wenn ihr nicht fertig seid, dann kommt ihr auch nicht auf den Song." Darum hörst du auch auf manchen Songs nur einen oder zwei von den Outlawz. Wenn ein Song dann fertig war und wir unsere Verse nicht fertig hatten, sind wir einfach zum nächsten Song gegangen. Pac war von viel Kontroverse umgeben und viele Leute denken, dass er so drauf ist, aber er hatte wirklich nichts als Liebe für seinen Nächsten. Er liebte seine Familie, er liebte Kinder und er liebte schwarze Leute bis in den Tod. Er war wirklich voll von Liebe, darum lieben ihn auch die Straßen. Durch den ganzen Mist, durch den ganzen Beef hindurch... Wenn ich an Pac denke, denke ich nicht an so einen Mist, ich denke an Liebe. Dieser Ni**a hatte so viel Liebe in seinem Herzen, es war schon fast lächerlich. Und du hörst das in seiner Musik. ]

E.D.I.: Bad Azz is another cat who was around a lot. He loved our music so he always came through. 'Pac was a fan of BA. 'Pac wanted us on that song, but the beat was so slow. We was used to rapping on the up-tempo shit. We wasn't really vibing to it. Here comes BA, the hands of fate just swung that nigga's way. 'Pac was like, "You got a verse write a verse to that." Bad Azz was like 'I already got a verse." 'Pac was like, Get in there and kick that shit." [ Bad Azz ist einer, der auch oft bei uns war, er liebte unsere Musik, also schaute er öfter mal vorbei. Pac war ein Fan von ihm. Pac wollte, dass wir auf dem Song sind, aber der Beat war so langsam, wir waren mehr die schnelleren Sachen gewöhnt. Wir haben nicht so richtig darauf gepasst. Da kam Bad Azz, die Hände des Schicksals haben ihn zu uns gebracht. Pac sagte zu ihm: "Hast du einen Vers dafür, schreib einen Vers." Bad Azz sagte, dass er einen Part fertig hat. 2Pac: "Ok, geh da rein und spitte!" ]

Darryl Harper: E.D.I. was interested in the beat from 'Krazy," because during that year there were a lot of planes crashing and churches burning. He wanted to speak to that situation. E.D.I. thought that the beat that I had would fit that. So I brought 'Pac in to hear it. 'Pac loved the beat, but he didn't hear it for that. He put another hook on it. Bad Azz just happend to be coming by the studio when we were doing it. 'Pac looked at him ad said "You got 16?" He said, "I have 16." He got busy.

Lance Pierre: That song wasn't really put together, it was just a beat. Kevin Lewis, who was actrully the project coordinator, he's related to [Jazz pianist] Ramsey Lewis. He was there and we kept saying, "Man, this is not a song." He said, "But Tupac wants that song on the record." I said, "Man, I got it mixed, but it's still not sounding right." He said, "It's just needs some piano." So he just went in there and he just played according to the vocals. The Song turned out a lot better then it originally was. [ Der Song war kein richtiger Song, es war einfach nur ein Beat. Kevin Lewis, der Projekt Koordinator ist verwandt mit Ramsey Lewis, einem Jazz Pianist. Wir waren da und sagten, dass das noch kein richtiger Song ist. Aber Tupac will den Song auf seinem Album. Ich sagte, dass ich ihn gemixt habe, aber es hört sich immer noch nicht so gut an. Er sagte, dass ein Piano gut passen würde und schon setzte er sich hin un spielte zur Musik. Der Song wurde was besseres, als er es eigentlich war. ]

WHITE MAN'Z WORLD

Young Noble That was one of those ones that 'Pac was just expressing himself on, just being a black man. 'Pac had love for White folks too. 'Pac had love for people in general. [ Das ist einfach ein Song, wo Tupac sich ausdrückt, einfach ein schwarzer Mann zu sein. Pac hatte auch Liebe für Weiße. Pac hatte Liebe für Menschen generell. ]

E.D.I. He's talking to his sister. It's kind of personal, so I don't want to get into the personal side of it, but he's talking to his sister and he's talking to his mother. It's a personal record. I think it's like an open letter to his mother and his sister. He's like writing from jail. He's really just apologizing for alot of shit. At 25, we're all trying to grow up and change and figure out shit. Alot of people don't remember that dude was only 25. That's still a kid, really. 25 is a real young, immature age. But at the same time, he had the responsiblity of a 40-year-old. He had the responsibilty of a whole family, a whole label. At that point in the game, Death Row was on 'Pac's shoulders and he knew it. [ Er spricht hier zu seiner Schwester. Es ist sehr persönlich, also werde ich nicht zu sehr darauf eingehen, aber er spricht zu seiner Schwester und zu seiner Mutter. Ich denke, es ist wie ein offener Brief an seine Mutter und seine Schwester. Er schreibt so, als ob er im Gefängnis sitzt. Er entschuldigt sich wirklich für einige Sachen. Mit 25 versuchen wir alle erwachsen zu werden, uns zu verändern und uns Sachen vorzustellen. Viele Leute vergessen, dass Tupac erst 25 Jahre alt war. Das ist in Wirklichkeit noch ein Kind. 25 ist ein junges, unreifes Alter. Aber zur selben Zeit hat er die Verantwortung eines 40 jährigen. Er hatte die Verantwortung für eine ganze Familie, für ein ganzes Label. Zu diesem Zeitpunkt war Death Row auf 2Pac's Schultern und das wusste er. ]

Darryl Harper: 'Pac wrote the hook. I had did a beat; he liked it. He wrote the melody and everything for the hook and I sung it. I wasn't really happy with a lot of the stuff, because he didn't let us do alot of parts over. On "White Man'z World" I could hear my backgrounds are kind of off there-like I'm saying something twice or something. But 'Pac said "That's it. That's it That song's Finished. Wrap that up send it down there to get mixed."

ME AND MY GIRLFRIEND

Young Noble: He got that concept from Nas. Remember Nas did that song about the gun["I Gave You Power" from the 1996 album It Was Written]? 'Pac used to like that song. When him and Nas Squashed their beef, I was happy. I grew up on NAS. Around my way, when Nas came out with "Live At The Barbeque" Shit. I could have been the first nigga promoting his ass. All the Outlawz were fans of Nas. 'Pac was too. He used to like Nas. That's all hip-hop do. You hear a nice idea, and you flip it and make it better. That was one of those shits. There was a lot of shit going on, and 'Pac was never a dude to hold his toungue. He put it out there. He felt like a lot of mutherfuckas was against him, and that didn't sit well with him neither. Muthafuckas made it like an East Coast/West Coast situation, when in reality 'Pac and all the Outlawz is from the East Coast. That was just one of those songs where 'Pac was riding on his enemies. 'Pac had nothing but love from New York. We was in New York for the MTV Awards two days before he got shot in Vegas. That's where we seen Nas and they squashed it. That was one of the happiest time I've seen him. He was happy to be in New York and feeling the love. We was all in New York Uptown, it wasn't like we was in the hotel all day We even walked for some damn blocks. in Manhattan somewhere. 'Pac said, "Fuck it, let's walk." We could have walked for 30 minutes. People couldn't believe it. This nigga was giving bums hundreds of dollars and shit He had me holding a damn little briefcase with all this money. He was really happy to be back in New York. I think he wanted to get in touch with everybody out there - Rappers, and just the streets, period. He was happy about squashing the beef out there with Nas. [ Er hatte das Konzept von Nas. Erinnerst du dich an den Song den Nas gemacht hat? Pac mochte den Song. Als er und Nas ihren Streit beilegten war ich wirklich froh. Ich wuchs auf mit Nas. Er hatte diesen Song 'Live at the barbeque' und ich hätte der ersten sein können, der Nas promotet. Alle Outlawz sind Fans von Nas, 2Pac auch, er mochte ihn... Du hörst eine gute Idee und änderst es und machst es besser. Das war so eine Sache. Da gingen viele Sachen vor sich und Pac hielt niemals seine Klappe, er haut es einfach raus. Er fühlte sich, als ob viele gegen ihn waren und das passte ihm auch nicht wirklich. Es wurd der East West Konflikt daraus gemacht, aber in Wirklichkeit kommen wir alle von der Ostküste. Das ist einfach ein Song, wo er mal wieder seine Feinde plättet. Er hatte nichts als Liebe für die Ostküste. Wir waren in New York und besuchten die MTV Awards, 2 Tage bevor er angeschossen wurde. Da trafen wir Nas und sie beendeten den Streit. Das war einer der glücklichsten Momente in denen ich ihn gesehen habe. Er war froh in New York zu sein und die Liebe zu spüren. Wir waren alle Uptown New York und es war nicht so, als ob wir die ganze Zeit im Hotel waren. Wir zogen um einige Blocks, irgendwo in Manhatten. Pac sagte: "Scheiß drauf, lasst uns raus gehen." Wir sind 30 Minuten draußen und die Leute konnten es nicht glauben. Er schenkte Pennern hundert Dollar scheine und ich hielt eine kleine Brieftasche, wo all das Geld drin war. Er war wirklich glücklich zurück in New York zu sein. Ich denke, er wollte mit jedem da in Berührung sein - Rappern und natürlich der Straße. Er war glücklich den Beef mit Nas da beendet zu haben. ]

E.D.I.: 'Pac had the idea for the song already. We was in the studio trying to come up with the right track fo ti. I rember Hurt M Badd was up there working on the drums and 'Pac wasn't really feeling what was coming up on there and then ricky Rouse just came up and said, "'Pac, I got something. I got a song I wrote." Ricky Rouse, he a session player. He a cool brother, but he was always worrying about his publishing. 'Cause he knew where he was at. He was at Death Row, And you got to be about your business or you won't get paid. So he's like, "'Pac, I got some shit for this shit, it's some Spanish shit. But I got to get my publishing on it. I got to get  my writer's credit on that." 'Pac was like. "Hell yeah." 'Cause 'Pac was a fair nigga. He gave everyone their shot, Their credit. He was the only one who gave Val Credit, Even though half the dime he might have wrote the hook. Ricky Rouse started playing this guitar shit. 'Pac went crazy. He was like. "That's it right there. That's what I'm looking for." Then he started singing , just came up with the hook. He told us all to write verses for that, too. All of us wrote verses but he just shot us down like, 'Nah, that ain't tight enough." He had ol' gril Queen-she play the part of the gun in the song-'Pac had her come in once the song was done. I know her as queen she used to work at Death Row. She was the receptionist up there. She go by Virginya Slim now, and she's signed to Deaht Row. She the one that talking that shit like, "Like what? West side Nigga. Die Nigga Die!"

Darryl Harper: "Me And My Girlfriend" was Tyrone's [Hurt M badd's] but I just played on it. Keys. We would work on eatch other's beats. He would do drums on mine and I would do something on his. We basically did the whole album together. The album was finished in three days, the mixing still had to be done. So the album was done in a week. As for 'Pac's parts, All of them was done in three days if I rember correctly. He would have ideas for it. He would know. He would instantly tell the Outlawz what they needed to be writing about. And they had to be on it, because the one that didn't have it, he wasn't going to be on the song. It was a trip because 'Pac would finish his Vocal and come out [From the vocal booth] and point at one of them. If he stutterd, he would point to the next one. He just missed that track. If they wern't confident right away, he would let them know they wern't going to be on there.

Lance Pierre: We had an idea to do an intro where the gun is talking. And we needed a broad. Finally, there was this one girl-actrully she's on Tha Row Records right now-Virginya Slim. She put it down with like one pass, ba-ba-ba! [ Wir hatten die Idee ein Intro zu machen, wo eine Knarre spricht. Wir brauchten nur eine Frau. Schließlich war da dieses eine Mädchen, sie ist nun auch auf Death Row und heißt Vrginia Slim. Sie nahm es in einem Durchgang auf, ba-ba-ba. ]

Hurt M Badd: On "Me And My Girlfriend," he tried to bluff me, he called me out. After we had done like four songs, Tupac had called me in my session one day-now mind you, I work in my own little production room-Tupac called me in his room one day and he said, 'You know what? I need a kind of up-tempo beat that don't sound like anything you ever done before." So my eyebrows raised and I was like, Whoa! so he said, "And I want you to stand right here and create it right in my face." Let me tell you something: Everything surrounding my heart went to my feet. Sweat just broke out all under my arm. But I'm also that type of person, I love a challenge when it comes to something I do, you know what I'm saying? So Tupac said, "Right now,in my face" So I stared from scratch. I just told the DJ to sample a kick and a snap from the keyboard. Everybody was looking at me like "What?" Looking at me crazy like, He Don't know what he's Doing." Before you know it. I had the drums going and I look over at the guy with the bass guitar. I told him to come in with something, and I gave him a little rhythem. He came in with it. Before you know it-Tupac was on the couch-he had this look on his face like, "I don't believe this guy." by the time we laid the guitar strings, he was up on the follor like, "Yeah!" Every time he'd get a track that he liked, he would listen to it and come up with the hook in his head. Then he'd turn around to the Outlawz and say, "Here's the hook, listen to this and came up with "Me And My Girlfriend." [...Pac rief mich in meinem Produktionsraum an und meinte ich soll für ihn einen schnelleren Beat machen, aber er soll sich anders anhören als alles was ich bis jetzt gemacht habe. Und ich sollte es machen während er dabei ist. Lass mich dir was sagen: Alles rutschte mir in die Hose und ich fing an zu schwitzen. Aber ich mag auch die Herausforderung, also ging ich in sein Studio. Also sagte ich dem DJ er solle mir ein 'kick' und ein 'snap' vom Keyboard samplen. Alle guckten mich ungläubig an und dachten, dass ich nicht weiß was ich hier mache. Bevor sie wussten was los ist hatte ich die Drums am laufen. Dem Typ mit der Bass Gitarre gab ich einen Rhythmus und er sollte mir etwas dazu spielen. Pac saß auf der Couch und guckte immer noch ungläubig. Aber dann wurden die Gitarren aufgenommen und er sagte 'Yeah'. Immer, wenn ihm ein Song gefällt hört er ihn sich an und dann kommt er schon mit dem Refrain. Dann dreht er sich um zu den Outlawz und sagt: "Hier ist der Hook, hörts euch an und so entstand Me & My Girlfriend. ]

HOLD YA HEAD

E.D.I.: That shit remind me of some Me Against The World shit. That's another one of those melodies where I sat watched this nigga sing to them like "Play this." That shit just came together. Hurt M Badd did the drums, you got the piano shit. It's some real shit that 'Pac was famous for.

Hurt M Badd: 'Pac did the verse and the hook already. He came in my room and asked me if I knew how to sing. He said he wanted me to sing on the hook. I said, "I'll be right in there," When he shut the door, I started jumping up and down in a room by myself. When I went in there, I got real nervous. He gave me the notes to sing and everything. And fortunatly, it turned out cool. Anytime you had to like rap or sing with him, That's how he was. But as far as producers, I've seen him get at a couple of producers. Fortunatly-Thank God Me and him didn't have to go through that. [ Pac hatte seine Lyrics und den Refrain schon fertig geschrieben. Er kam in meinen Raum und fragte mich, ob ich singen kann. Er sagte, dass er mich den Refrain singen lassen will. Ich sagte, dass es kein Problem sei. Als er die Tür schloss sprang ich hoch und runter. Als ich dann in die Aufnahme Kabine ging war ich nervös. Pac gab mir die Noten und alles. Und glücklicherweise ging alles gut. Ich hab ihn gesehen, wie er auf andere Produzenten losging. Glücklicherweise, danke Gott lief das bei uns nicht so ab. ]

AGAINST ALL ODDS

E.D.I.: That just closes the album out. A lot of people don't know it's a replay of a Cameo song, "The Skin I'm in." 'Pac probably listend to it on the way to the studio, came in and played that shit for Hurt M Badd, like, "I want that bass line right there." Hurt M Badd played that shit [on the keyboards]. I don't want to take nothing from none of the producers that record himself. Almost every note that nigga was humming to them niggas, every drum kick, every beat, snare, hi-hat-That nigga was telling niggas what to play.

Hurt M Badd: On that song he was going at Nas and his other adversaries. He was getting his weapons for war, his arsenal ready. The day we made that song Tupac said "I need a war song. I wanna go to war." He gave me an hour then came back and heard the beat, and he wanted me to add that cameo song baseline. Once it was in 'Pac started snapping, "This is it!" He called the Outlawz in and started reciting the hook: "This be the realist shit I ever wrote." While 'Pac was doing his vocals he wasn't just recording his vocals, he was also kicking over the music stand, hitting the microphone. There was a vibe in the room. We all knew what was goin on. As ['Pac] started reciting his lyrics we was just looking at each other like "Uh-oh, Here we go again." [ Auf diesem Song spricht er über Nas und seine anderen Feinde. Er machte seine Waffen bereit, sein Arsenal. An dem Tag, an dem wir den Song gemacht haben sagte Er: "Ich brauche einen Kriegs Song, ich will in den Krieg ziehen." Er gab mir eine Stunde, dann kam er zurück und hörte den Beat und wollte, dass ich die Cameo Baseline hinzufüge. Als die Baseline zugefügt war sagte Pac, "Das ist es!" Er rief die Outlawz rein und fing an den Hook zu schreiben: "This be the realist shit I ever wrote." Während Pac seine Lyrics aufnahm, trat er gegen das Equipment, er schlug das Mikrophon. Es war eine unglaubliche Stimmung im Raum. Wir wussten alle was abgeht. Als Pac seine Verse aufnahm guckten wir uns an und wir wussten: "Uh-Oh, jetzt gehts wieder los!" ]

Artikel editiert und übersetzt von Niamaru

2Pacaveli.de © 2002 - 2004